From the outset, the Pre-Raphaelite Brotherhood and their close associates sought to create new ways of interpreting Christianity through their radical work. This lecture draws upon a cluster of well-known and lesser-known artworks by Dante Gabriel Rossetti, William Holman Hunt, John Everett Millais, and Edward Burne-Jones, exploring contrasting paths that each artist took towards uncovering innovative approaches to religious subjects in their work. Two figures – a mother and son – will form a framework for considering these fresh perspectives on religious imagery in the midst of a profound set of shifting factors in the art world, theology, and British society that made the Pre-Raphaelite renewal of a religious vision particularly revolutionary. By studying how these artists depicted Christ and the Virgin Mary, new understandings of the Incarnation and the Mother of God emerge in order to demonstrate that these four artists, in their own bespoke way, did nothing less than counter-culturally preach with paint.

Dr Ayla Lepine is a Visiting Fellow in the Art History Department at the University of Essex. Following her PhD on the Gothic Revival at the Courtauld Institute of Art, Ayla held fellowships at the Courtauld and Yale, and has taught, lectured, and published widely. She focuses on Victorian sacred art and architecture in Britain and is completing a book on medieval impacts upon modern cities.

In two early watercolours, ‘The Laboratory’ (1849, BMAG) and ‘Fra Pace’ (1856, private collection), Rossetti depicted scenes from distinct historical periods, the fifteenth and seventeenth centuries. In doing so he contrasted not only their visual style but also the different values and morals of the cultures they represented to him. These works have only rarely considered in their own right and have never before been compared and contrasted. I do so in this talk in order to open up discussions about the artist’s wider aesthetic programme. The dates of these works are crucial – the first being at the start of Rossetti’s involvement with the Pre-Raphaelite Brotherhood, the second at a point when the Brotherhood began to dissolve. Yet there is a dialogue between the two works that I uncover and explore here. In their different ways these watercolours look forward to themes worked out by Rossetti in more familiar paintings, a discussion of which forms the second half of this paper.

Colin Cruise is Professor of Art History at the School of Art, Aberystwyth University. He has written widely on nineteenth-century art and the Pre-Raphaelites. In recent years he was guest curator for two exhibitions for BMAG, ‘Love Revealed: Simeon Solomon and the Pre-Raphaelites’ and ‘The Poetry of Drawing’. His current research project is a study of the drawings of Dante Gabriel Rossetti.

The Artists Rifles was one of the more curious regiments of the British Army. It was formed in 1860 by a group of painters, architects, poets, sculptors, musicians and actors who were concerned about a possible invasion by the French. Early members included most of the Pre-Raphaelite Brotherhood, William Morris, Frederic, Lord Leighton and even the poet and novelist Algernon Swinburne. Admittedly, some were more effective as soldiers than others – Morris seemed to have trouble with drill; Rossetti questioned every order and Ford Madox Brown managed to shoot his own dog when first on the rifle range. However, Millais was a capable soldier and was elected one of the original officers. Leighton was also a natural leader and commanded the regiment for many years, Whistler describing him as “Colonel of the Royal Academy and the President of the Artists Rifles – aye, and he paints a little!” The regiment was the natural choice for young men of an artistic persuasion in 1914 and well-known artists like John and Paul Nash, the poets Edward Thomas and Wilfred Owen and the playwright Noel Coward wore the uniform of the Artists Rifles. In view of the calibre of men serving in its ranks it became an officer-producing unit and turned out over 10,000 officers for service in other regiments during WWI. Members of the regiment won more gallantry awards than any other.

Patrick Baty is a specialist on the architectural use of colour in historic buildings. His work covers research, paint analysis, colour & technical advice and colour surveys. Projects have ranged from King Henry VIII’s heraldic Beasts; Baroque churches; country houses; wartime RAF stations and London social housing estates to structures such as Tower Bridge and Holborn Viaduct. He also works in the USA. Patrick’s first book ‘The Anatomy of Colour’ is published by Thames & Hudson in May 2017. He served in the regiment for ten years.

The latest edition of ‘The Review’, Vol. XXIV, No. 3, Autumn 2016, is now available. Members receive ‘The Review’ for free but copies can also be purchased by non-members. Please email info@Pre‑Raphaelitesociety.org for details.

“A ‘Damned Proeraphaelite’? George du Maurier’s Ekphrastic Drawings for Good Words, Once a Week and The Cornhill (1860-65)” by Francoise Baillet.

“Edward Burne-Jones’s The Planets: The Cartoon of Mars at the Birmingham Museum and Art Gallery” by Liana De Girolami Cheney.

Biddulph Old Hall is the historic home of the Biddulph family from which the town gets its name. The inhabited house was originally a small single cell hunting lodge which was developed into the family’s principal residence, part-stone, part-timber framed. Around 1530, a new mansion was commenced alongside the existing manor, and this was described as “Mr Biddulph’s Fair New House of Stone” in contemporary accounts. The house had the involvement or influence of Robert Smythson in its architecture. The Biddulphs were Recusant Catholics and so by about 1580 were being fined heavily so work stopped. No further development was achieved before the house was caught up in a siege during the English Civil War in February 1644, after which it was brought to ruin. The family never rebuilt the new mansion, instead restoring the earlier house which still survives today.

The house was sold out of the family for the first time in 1861, when it was bought by James Bateman, the creator of the famous gardens at Biddulph Grange, now in the care of the National Trust. His youngest son Robert created a studio there, and from 1871 had a lifetime tenancy on the house, painting many of his best known works in the house. Many of his artistic circle visited. During the 20th century the house slowly slipped into disrepair but has been restored by Nigel Daly and Brian Vowles, who have also created a Briar Rose garden within the remaining upstanding ruins. Currently three of Robert Bateman’s original works are on show in the house.

We will be treated to a tour of the house by the owner Nigel Daly with tea and cakes after the tour and free time to explore.

Michael Wollaston will be standing down as Treasurer and Vice-Chairman of the Society at the forthcoming AGM in October 2017, after serving on the Committee for twenty years. The PRS would like to hear from anyone who might be interested in taking on the role of either Treasurer or the newly created post of Membership Secretary, from November 2017. The main duties of the two posts are described as follows:

Treasurer – the main duties are to maintain the accounting records for the Society; make payments to lecturers, event venues, printers and other suppliers, reimburse committee member expenses, etc.; to receive and bank cheques from miscellaneous parties; produce monthly bank reconciliations; produce bi-monthly accounts for committee meetings plus an annual Treasurer’s Report for presentation at the Annual General Meeting; prepare and submit an annual HM Revenue & Customs Gift Aid claim. The Treasurer would need to attend the five committee meetings plus the Annual General Meeting held in Birmingham each year and will need to be resident in the UK. Expenses such as stationary and postage will be reimbursed.

Membership Secretary – the main duties for this newly created post are to maintain membership records including status spreadsheets and address label files; to monitor the collection of membership subscriptions through the issue of annual renewal and reminder notices; to receive new member applications; to receive and bank cheques from members and to respond to member queries. Ideally the Membership Secretary would be able to attend the five committee meetings plus the Annual General Meeting held in Birmingham each year and will need to be resident in the UK. Expenses such as stationary and postage will be reimbursed.
To make an enquiry or to discuss the duties more fully, please contact Michael Wollaston on either 01676 530512 or 07739 892309 or email info@Pre‑Raphaelitesociety.org. Send applications for both posts including curriculum vitae to info@Pre‑Raphaelitesociety.org. Closing date for applications: 30th September 2017.